I had a joke about calling this movie's journey an uphill battle an understatement along the lines of fans of both the original play and the movie wanting a sequel...but...then again, who was asking for one? The Mamma Mia story kinda wrapped itself up pretty wel---neat---easil---aver---somewhat.
Yeah...I can't exactly say even “Average” when the wrap up includes things like using ABBA's song about their divorces, “When All Is Said And Done,” as a marriage song. Yes, because “I married the love of my life” should always be written with “Oh shit, did I sign a prenup” in mind. Not even kidding with that one, either, all four of 'em wrote and performed the song as anybody would going through the stages of a funeral...and that's the one song they decided HAD to be changed to be a love song about weddings in the movie! Suddenly, having Sophie's mom singing “Super-Trouper” 24 hours before the wedding makes sense, don't it?
Speaking of Donna, don't expect her adult self beyond a cameo. Why? Because if Universal's “care” for this thing means you saw Mamma Mia! Here We Go Again ten years after the original movie...
Way to strike that hot iron, guys!
...you can bet they cared even less about giving Streep her check.
Yes, despite the ABBA AND play's fanbases crying out for a sequel, Universal took a good decade to give you something that's supposed to be 5 years later...despite everything around saying “Longer,” and so many retcons to both the previous movie AND the past, that I have no choice but to make a drinking game out of it!
Ladies and gentlemen...THE RETROACTIVE RETCON REACH FOR ONE DRINKING GAME!
Here's how it goes: Anything that retcons the first movie, you take a shot. Anything that retcons the past FROM the first movie (The era where Donna met her exes), take two shots. You can follow along with the *DING* when it pops up, one shot per *DING*!
And I know what some of you are thinking: “How can there be a sequel to the movie when the movie already used up a huge chunk of the ABBA catalog? All that's left to do is their break up/divorce songs or re-do the previous ones!”
Well, you're in luck...Universal decided to do both. Is it irony when a sequel to a musical reuses the music? Oh, there's some of the stuff they DIDN'T use in the last one here...but...yeah, I don't hear too many ABBA fans calling out for those songs.
So, the movie opens with Sophie (Amanda Seyfried), five years after the original movie, sending out invites to her 3 dads about the grand re-opening of the late Donna's hotel.
*DING*
That didn't take long, take a shot! Yeah, that's right, grand RE-opening! Not only did she able to get it up and running between the last movie and her death, but apparently the hotel itself is tied into Donna's existence as her death made it a money pit yet again! Hey, if Blues Brothers 2000 can say that orphanage that's been at the center of a journey went under, why can't a sequel only the most die hard of musical fans ask for say the same about a hotel that they were hoping would be fixed by the end?
Anywho, to make sure we meet the new ABBA quota, this is all done to “Thank You For the Music” as we also learn that not only do we have a new manager, Fernando (Andy Garcia), but confirmation that Donna did pass away. Of what? Of “Universal will not give Streep the money.” This is to show that Sophie is doing this to honor her mom and it's a touching moment that we have right before we jump to New College, Oxford, in 1979.
*DING**DING*
What was that? No, you didn't hear songs about the summer of love or seen anybody that looked like they were fresh out of Woodstock or early start of the punk scene, you're crazy!
Also, take two shots because you heard songs about the summer of love and the flashback looks were that of people fresh out of Woodstock or the early start of the punk scene.
Yeah, somebody actually did the math on Sophie's age from the last movie, 20, and how long Donna's been on the island and...yeah, when you tried to in the original, your brain kept shouting “404” for some reason, so we're cementing that the flashback is so close to 1979, there's no possible way the math can be off! So, you just sit down and shut up about stuff like Bill and Sam looking like hippies ready to protest!
We see young Donna (Lily James) graduating as valid Victorian and delvers a speech...of one minute as we have to meet the ABBA quota, even in graduation! So...what do we have for an ABBA song about leaving school behind? Nothing really, so how about we see Donna take off her robe and move her gogo boots to “When I Kissed the Teacher.”
I mean, what are they gonna do, suspend her?
She's then joined by her two friends, the younger versions of Tanya (Jessica Keenan Wynn) and Rosie (Alexa Davies). Props to the casting department for this one, I buy these three as younger versions of Donna and the Dynamos and they do a good performance...about schtooping the teacher on the side. And, well, since the song says they're kissing the teacher, she does that with the vice-chancellor of the college (Celia Imrie), leading to...the chancellor liking it...
...I wanna make it clear, Donna's supposed to be graduating college, so she's of adult age. This is not a high school, she's not a teenager, this is her as a grown ass adult.
It's just the ETHICS that have been violated, not the law! The ethics! I hope you feel better.
But this does bring up the same problem the original movie had...strong arming itself with ABBA songs they don't wanna fix to fit the narrative.
Yeah...remember how in the last movie we had things like Donna singing “Money, Money, Money” despite it having nothing to do with her story, but they had to put it in because no other ABBA song can be used to sum up “I wish I was rich so I don't have to constantly fix this place?” Well, that's “When I Kissed A Teacher” in a go-go boot heel: There's no other song that can sum up anything about graduation in the ABBA catalog apparently; nothing that can be used to sum up the future, the unknown, or even the joy of getting the Hell out of there, but we got one with the student making out with the teacher because “School!”
I said it in the last review, I'll say it again here: While Across the Universe had the same problem being tied to the Beatles music, it overcame it because of a production staff that were willing to change a song's meaning or tone to fit the narrative and scene. NOBODY wants to do that with the ABBA songs, so we get something that I hope was just a song of rebellion that woke up something in the chancellor...or we just heard some horrible implications.
Turns out, Donna's sad that her mom didn't show up despite her invite---
*DING**DING*
Yes, Donna's mom is no longer the overbearing Catholic she hinted at the last movie, but just a negligent mother! No time to dwell on that now, we need to have Donna's departure to Paris, set to a musical version of “Chiquita,” transition back to the present with Sophie running down things she needs to do before the grand reopening! This includes positioning the sign of the hotel's new name, The Hotel Belladonna.
Yes, because when I think of “Romantic getaway” I think “Death In Paradise.”
Sophie then gets a call from Sky (Dominic Cooper) to let her know how his hotel management training in New York is going. It's going so well that the hotel he's training in wants him to stay and be it's manager, which he wants and wants her to come with, despite all the effort she's been putting into her mom's hotel. This displeases him, as he remarks that Donna's dead and---
...wait, how is it day in New York and day in Greece?
---anyway, says that her mom wouldn't want this...even though it's clearly what SOPHIE wants! Yeah, who cares about your wife's needs? The important thing is what YOU want out of life, screw all her hard work, right? Well, this leads to both to perform “One of Us Is Lonely,” as they both feel heartbroken over the stubbornness of the other.
Yes, because there's no ABBA song about the stress of work or the two separate goals of a couple still in love, we have a “I divorced your ass and I now regret it” song. Considering one of the lyrics has Sophie singing “I felt you kept me away,” I don't think I need to sum up, despite a good performance, why this feels like yet another ABBA square peg in the movie's round hole.
We jump to the present versions of Rosie (Julie Walters) and Tanya (Christine Baranski) going to the island and learn, from Sophie, that two of the dads can't make it as one, Harry, has a big deal in his business, and the other, Bill, is getting an award for one of his books. We also learn that Sophie's grandma hasn't been seen outside of her performances in Vegas for a long time.
*DING**DING*
Not sure how many Catholic reviews is in the land of sin, but there ya go, two shots.
Back to 1979, as Donna makes her way through Paris to a hotel as, thanks to mistaken identity, we first meet Harry (Hugh Skinner)...
*DING**DING*
I'm gonna one two, skip a few, as you take your two shots: You know how the plot of the original movie was because Donna met her exes so close to each other at various times, she had no clue who Sophie's real dad was? Well...we can't exactly do that in this thing without some...implications...
Yet, they had no problems saying 3 guys went after one woman at a time so close after each previous one.
...so, Donna's encounters are gonna be spread out, starting with Harry in Paris. Oh, and you know the “Headbanger Harry” stuff? Yeah, he's a banker in a leather jacket so...fight...the...man? Here, in a Napoleon themed restaurant, Donna reveals that she's heading to the island because first mov---I mean “Destiny,” causing Harry to purpose to get right to the sex, with Donna hinting that romances don't go well for the family because somebody in Central America broke her mom's heart, making her the woman she is by 1979.
*DING**DING*
I think the quote is “Get Thee to A Nunnery” not “Get Thee To The Stardust.”
Also, hold up two fingers. You see four, you're fine.
Also, huh? Does the Hotel Belladonna have the only Hispanic manager on the whole island? I forget.
This leads Harry to break out into “Waterloo,” in a reverse of what we had from the last movie! Ya know, the movie forcing itself to put in “Waterloo” because we were over the ocean? Well, “Waterloo” is forcing itself to be put into the movie because of the restaurant. Yes, anybody with an IQ above a jar of mayo gets the metaphor, but as I said before, we can't mess with the ABBA songs, so here's a love song metaphor in a literal Napoleon restaurant. Yes, we Planet Hollywood something a few decades early to keep true to something that was a metaphor in the first place.
After the one night stand, back to the present as we see Sam (Peirce Brosnon) made a shack on the island and both are there for each other because they miss Donna. I got nothing to say, this is too touching and well done for me to snark on it without being a jerk...well, an ACTUAL jerk, anyway, so I'm gonna move on, complete with “SOS” being used in a really somber way.
But the next scene I can give plenty of snark, as a security guard wastes young Donna's time with advice to keep her hair short, causing her to miss her boat...but have plenty of time to board young Bill's (Josh Dylan) to do so. It's a musical, the plot fairy works overtime in these things. And yes, we need to use ANOTHER ABBA song, so here's “Why did it have to be me,” a song about trying to break off a one night stand, only the other party doesn't want it to end. And if you think it'd be better suited for Harry after what happened, he gets A lyric or two, so there's some fairness.
After rescuing a guy who's trying to break up a wedding, in fact having a HAND in breaking up the wedding...
Complete with an instrumental of “Take a Chance on Me.”
...we jump back to the present, as Sophie and Fernando talk about Fernando's missing love. Say...didn't the retcon say Donna's mom loved and loss in Central America? Where's Fernando from again?
But this was just to establish a conflict that'll run with the past, as both Fernando in the here and now and Bill in the then and...uh...then sense a storm is coming to the island. The next few minutes jump back and forth from when Donna first landed on the island to Sophie putting the finishing touches, showing the start of one journey and the conclusion of another, as it's young Donna's turn to sing “I Have a Dream.” And...yeah...this is done well, with Donna's actress doing a great performance and the scenes running perfectly along each other.
But...yeah, if you're wondering why this is an encore from the last movie, remember, a huge chunk of the ABBA song list is post divorce.
Can't exactly do a love song when it includes things like “Anger,” “Bitter,” and “Resentment.”
As Sophie deals with the storm in her time, young Donna runs into young Sam (Jeremy Irvine) to help her with a trapped horse on the island as Sophie gets help from present day Sam to try to salvage what she can for the grand re-opening. Donna does a good job with the horse...Sophie...not so much with the opening. After the storm ends on Donna's...uh...end, she and Sam talk about the future and enjoy a good bike ride around the island.
Oh yeah, and because it's 1979 and nobody looks like they're from the 60's, ala adult Donna's flashbacks...
*DING*
Yeah, one ding because the flashback was in the first movie. Also, to give your liver mercy.
It's during this Donna reveals that her mom is a constantly touring singer.
*DING**DING*
HERE'S your double shot, so much for that mercy.
Donna then runs into both the owner of the hotel and the owner of the bar, a mother and son duo, and auditions for them in the hopes that she can stay on the island AND give her band a place to perform. She performs in front of both them, and Sam, “Andante, Andante,” one of the few times where one of the songs actually fits without any force.
Except...didn't the last movie say their song was “Super Trooper?”
*DING*
Must've imagined it. Eh, drink one for me since I didn't.
So, Donna pours her heart out to Sam, because we need to justify why they were the ones to get married in the last movie, as we then jump back to the modern day as Sophie and present Sam go over what the storm did to the party...namely end it, as the storm flooded half the hotel, wrecked the welcome area, and canceled all the flights from all the people she invited. All and all, the storm was good for her mom...not so much for her. This leads to Sam, to make Sophie feel better about herself, saying she can never let her mom down...on the grounds that he done did the stupid thing.
After Donna wakes up one day, singing “The Name Of The Game” to show that she's in love with Sam...only for Donna to find a picture of Sam with a red head...who he's engaged to, he just...ya know...never got around to telling her about it. What? She might take it bad for some reason. This leads to “Knowing Me, Knowing You” as they break up and he leaves the island. It's kinda easy to tell that this is a pre-divorces song they wrote on the grounds that it's more sad and heartbreaking than it is anger and bitter and it actually fits. Boy, I'm starting to wonder if it's my hatred for disco causing me to hate this thing.
We jump to modern Tokyo, Japan, as Harry (Collin Firth) is falling asleep at his 14 hour long business meeting and he decides to leave the meeting to be with Sophie, who he still considers his daughter thanks to the last movie, and leaves it up to the business men to sign the contract without him. Not sure you can legally do that, but hey, he's got a daughter to see! Screw the people in his employ!
Nope, my not liking this thing is rational after all.
We then jump over to Sweden and see Bill (Stellen Skarsgard)...or his twin brother (Skarsgard in a fat suit...because the Hollywood system refuses to let the 90s die even 20 years later) accept the award as Bill himself heads to the island, too!
*DING**DING*
Didn't know Bill had a twin brother? Shame on you for not paying attention! Also, take two shots since Bill now has a twin brother.
Back to 1979...longest year in the history of cinema at this point...as the Dynamos reunite to perform at the bar...when Donna's heart broke into two. So...perfect time for one of those divorce songs from ABBA, right? Keep that perfect fit streak going, even toss in an early break-up song?
Nope, we go to “Mamma Mia!” Yes, the perfect post-still-fresh-in-her-heart break up song...you know, the song that says seeing the ex again brought up old feelings and that the break up was a mistake! You had plenty of songs, both pre and post, divorce to pick, and you pick the one that isn't neither one of those, but VERY ill fitting. Why? Because it's an ABBA song, it's the title of the movie (Again), and Bill's back! Causing Rosie to resent that Donna has a thing with him as Rosie wants to have Bill's babies and be with him forever.
*DING**DING*
Oh, they knew each other the entire time in the first movie, they were just PRETENDING to not know each other! That's it, pretending...you say to yourself after two more shots.
Back to the present, as Sophie talks about not being able to talk to Sky about what happened, leading Rosie to sing about her break up with Bill, via...
…
…
…
Ang...Ang...”Angeleys...” “ANGELEYES!?” Buh...guh...you...tha...se...GAH! “Angeleyes” would've fit the last musical number better than “Mamma Mia” did! The song is about the girl finding the other girl of the player and what she would say if given the chance! How much would it have worked if it was Donna and the Dynamos singing about what she would've said to Sam's fiance!? This is a love story musical with ABBA lyrics! You're trying to stay so true to the songs, you forced the movie to have a better scene to fit one, WHY DIDN'T YOU USE “ANGELEYES” IN THE LAST NUMBER!?
It would've not just fit with how Donna was feeling, but with how Donna viewed Sam at that point! It would've been PERFECT to set up the resentment from the first movie she carried the most with him! I'm not an ABBA fan, yet as a writer, I know song placement better than the people who made this thing!
Meanwhile, Bill finds out there's no boats going out to the island...and the guard from the past is still the guard, only this time he talks about ages over hair...as he and Harry hug on the docs, happy to see each other. And...yeah, I still like that three guys who were with the girl in the past not only moved on enough, but are friends through their positive experiences with her. Most romcoms need to do this...then again, it'd mean the leads are human so...
Well, enough about that, back to the longest 1979 on record...seriously, how much time has passed...as Donna and Bill are swimming by his boat. *SIGH* Just like last time, music by ABBA, editing of a howler monkey. As she's doing that, Donna's friends bump into Sam...
*DING**DING*
Again, you only THINK they never knew each other! Just let the booze remind you that they actually did not and this movie thinks you're an idiot after 10 years.
...only for Bill's aunt Sophie to tell him “She found somebody better, bugger off, and never come back” on the grounds of both being Bill's aunt and liking Donna. Considering she willed enough money for her to buy the hotel after they break up at one point, that should go without saying.
Or does Bill's aunt Sophie have a list that says “Ex A gets this, Ex B gets that” and so on?
After the one night stand with Bill, we jump back to the present as Harry has him self tied up because thinking of solutions to one thing, escaping in this case, channels him to think of another solution. Guess he should've asked the board room in Tokyo to tied him up then. He and Bill then run into the modern version of the guy who Bill and Donna helped break up a wedding, finding out that he, and the other fishermen, are going through a down turn due to lack of fish.
Again, musical, plot fairy works overtime.
Naturally, Bill suggests they take their boats and all go to the island to have a party! Yes, nothing like a “Mother Nature wrecked my hotel, I need money” free party.
After seeing Sophie almost give up her efforts, it's time to do an encore of the last movie's party song, as the fishermen, Bill, and Harry arrive to “Dancing Queen!” Yes, the greatest songs of emotional triumph is all of cinema! “The Superman March,”
“The Flying Circus” from The Rocketeer,”
“The Indiana Jones” theme,
and now... “Dancing Queen.”
Yes, now whenever you shake what your mama gave ya, or your aunt's drunk book club sings along, it can be done in triumph!
Of all the bizarre places to put it...I mean...really? For once in my life, I got nothin'.
The song ends with Sky appearing, deciding New York wasn't his thing and...get this, it's up to her what she wants and he'll be supportive in every way! Revolutionary, I know! And we get a touching moment between Sophie and her da---or not as she has to run off somewhere as we flashback to when Donna decided to stay in exchange of making aunt Sophie's barn beautiful. Roof above your pregnant head, just gotta DIY it?
...actually, I don't know if that's worse or cheaper than most current landlords...
As it turns out, just as Donna makes her choice to stay, Sophie ran off to the bathroom too and both chunking means they're gonna have a baby!
Aw, but enough about Donna about to have Sophie...does this mean we can move the past to 1980 finally?
Anyway, we're back to the present where Sophie tells Sky she's expecting...and...doesn't want to tell anybody? Why? Oop, never mind, as we suddenly hear a helicopter heading to the island with...a car waiting for the occupant? How? Sophie didn't know what was coming, so...how did whoever's there call ahead?
Back to the party and Bill and Rosie talk everything out, with Bill asking for one more chance. Rosie, rightfully so, reads him the riot act over his playboy behavior, saying the only thing that can cause him to change is a really traumatic event that made him think...and sure enough, he breaks down crying thinking about Donna. Death, another word for “Comedy.”
So, that question I asked earlier about how a ride was arranged? Well, it turns out that Sky did everything, and the woman in the helicopter was none other than Sophie's grandma and Donna's mother, a music artist named Ruby...played by Cher.
*DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING**DING*
...Cher broke my drinking game machine...
Yeah...this movie is REALLY hoping that you're an idiot that forgot the last 10 years and that Donna kept mentioning that her mom was a devout Catholic that called her a slut and threw her out on the street when she heard Donna was having Sophie. That's kinda a long way from “Artist with monthly show in Vegas.”
Not saying she can't be both...but the movie kinda is.
Also...IT'S CHER! Devout daughter throwing out catholic or negligent celeberi---IT'S FREAKIN' CHER! Nobody's gonna see Ruby, everybody who knows Cher's own personal history, the minute they see this in the theaters, saw her in the trailer, or even in the commercials, had their brains cry out “ERROR! ERROR! 404 ERROR!” in response because...IT'S CHER! Nobody's gonna buy that her, of all people would do ANY of that in either version of continuity!
Suspension of disbelief only goes so far with acting with the actor! This is like asking Mr. Rogers to play Hitler, or Uwe Boll to act as a director, you can only go so far!
After a talk with the very shallow Rub---
IT”S CHER!
---y, Sophie goes on stage with her mom's former band as it was a dream of her's, and she sings “I've Been Waiting For You” to a montage of Donna giving birth to Sophie.
...so, this mean the 70's are finally over? This was the longest 1979 I've seen.
And...yeah...I'm getting tears in my eyes over it, it's a good montage and performance...excuse me, I need some more man stuff for a minute...
Much better.
After the song, Sophie and Ruby actually heal their relationship and we find out that, yes indeed, Fernando was the lost love of Ruby as she breaks into “Fernando.” Complete with hints that he's Donna's dad.
…
…
…
'Scuse me for a moment.
*WHACK*
*DING**DING*
Oh, I'm sure Streep's Latino heritage is somewhere in there.
Also, again, plot fairy workin' overtime.
We jump 9 months later and Sophie has given birth, Fernando and Ruby are together, as are Rosie and Bill, we find out that Fernando's brother is the Most Interesting Man in the world, and we get adult Donna's spirit (Meryl Streep) popping in at her granddaughter's christening as Sophie sings “My Love, My Life.”
I'm gonna need something manly again, I'm about to cry due to how well it's done and sung!
Yeah...congrats movie, TWO ABBA covers and performances moved my heart...so...how do you screw that up? By turning the light Donna uses to go to Heaven into a spot light and have the cast break-out in “Super-Trouper!”
Which, I've stressed before, IS NOT A LOVE SONG!
Yep, the casts from both eras sing out with a song about that guy who called and said he totally will not not be in the brightest spot of the dark row behind the tall guy who might duck. What a thing to close a love story, let alone a jukebox romance musical franchise, on. At least the cast is having fun doing it, so...somebody's happy.
Much like the last movie, there are some positives. The cast had great chemistry, the casting department went above and beyond in casting the younger versions of the present day counterparts, and, yeah, two performances moved me to tears, which is kinda easy to do thanks to a combination of editing, acting, and performing. And, like last time, while I'm not an ABBA fan, some of these covers are good and catchy and, I'll admit it, will be stuck in my head.
That said...it's still got it's arm tied being an ABBA musical, guys.
Stuff like Rock of Ages, the play version anyway, can tell it's story much better because it has a wide choice of songs to choose from that can actually fit. And while Across the Universe still has the same problems both Mamma Mia movies do, The Beatles have a more diverse hit collection and that movie had people who were willing to change the genre and meaning of several songs to fit the narrative, where this didn't. It's such a slave to wanting to stick to the ABBA script that it even forces itself to have a Napoleon themed restaurant and wouldn't let the metaphor speak for itself.
Then there's the retcons...holy crap...the retcons.
This movie REALLY hopes you're forgetful, an idiot, or both as a lot, and I mean A LOT, of the first movie's backstory were altered or removed all together. At least we had a year vs. trying to guess when everything is from the first movie when we get to the flashbacks, but everything else? Well, take your pick, from how Donna met her men (Not all on the island, far enough apart from each other to have a better guess on who the dad is, etc), to WHEN she met her men (Flashbacks set in 1979, first movie implied, with several songs, it was the Summer of Love, 1969), and her mother herself, just to name a few.
Being a comic book fan and a fan of the Halloween franchise, I'm well aware that retcons don't always have to be bad, they can help...but you have an easier time adjusting Superman's escape from a dying Krypton to the 21st century than you would history of a movie. There's a reason there's FOUR Halloween timelines...and that's if you don't count the comics! When you retcon a movie, you have to make damn sure the past viewers get the change or, at the very least, the change isn't depending on faulty memory/viewers being morons, and...yeah, this movie hopes you're stupid, forgetful, or preferably both when it comes to the first one.
The story is slightly better, I found myself surprisingly more interested in Donna's past and Sophie's present than I thought I would be, considering how the first one wrapped up, but it doesn't justify moments that the movie PRAYS you're too stupid to remember the backstories from the first one or that you forgot the info on Donna that Donna herself said. Bottom line, out of the two movies, if you're more into jukebox musicals than ABBA, the first one only. If you're a die hard fan of either the group or the original play, both movies would suit you.
Me? I'm gonna watch The Blues Brothers. The manly man equivalent, Rock of Ages, to this is too stupid and awful to counter ABBA.
And yes, this means someday, it'll be on this site. But for now, I did 3 bad musicals in a row, I need a break from the jukebox.
FINA VERDICT: For retcons that hope you're too stupid to remember the original, misplaced songs, moments where you know the movie is handcuffed to the music, but elevated by good chemistry, brilliant casting (Especially for the past), and a few spots that actually moved me to tears, this movie gets a MST3K B-MOVIE BOMB! The writing maybe tighter, but it's also dependent on you being dumber. Now, if you'll excuse me, my drinking game machine is starting to sing “Daisy” very slowly, so I gotta get to work. *WHACK**WHACK**WHACK**WHACK**WHACK**WHACK**WHACK**WHACK**WHACK*
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